Image courtesy of Simon Withers

Primates have been enjoying the new ‘Display’ work by Kirstie Gould. Words used to describe Kirstie’s work/interests/practice are; the mundane, the boring, the obvious, the odd, the familiar/unfamiliar, the worthless/meaningful, the pointless, the serious/humorous, the lighthearted/heavyhearted, the tense/balanced and the infra-ordinary[1]. Some of these words can be seen as contradictions or to be mutually exclusive, but there is often a fine line between opposites.

Kirstie’s interests lies in the seemingly insignificant, and ignored aspects of our daily lives. Seeing significance in the insignificant. Approaching the ideas through an intuitive sculptural practice, assembling, intervening, replicating, suggesting or constructing. Using other people’s rubbish, and found objects, she attempts to make ‘inaesthetic’, curious and odd, small objects that have no function or perceived worth.

The role of the plinth or the frame and it’s importance has become pertinent to the work. Can the plinth become part of the objects placed on top of it? How can the plinth become and extension of the work, rather than a convention?

Playing with value and display is important to her work, exploring the relationship between such boring or worthless objects and the use of traditional methods of display.
Constructing the ‘plinths’ has become equally as important as making the sculptures they support.

‘I want to keep my work simple but meticulous. I want my work to be obvious but playful. I want the work to be uncomplicated with the possibility to be troublesome.’

[1]Infraordinary as a term coined by Georges Perec meaning that something is neither ordinary nor extra-ordinary.

Display can be seen by appointment or during PRIMARY events

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